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What a great flowing album with great internal consistency.Why anyone would add new tracks that don't flow into the middle of the re-master is an act of vandalism.The real question is, why did the person responsible throw a brick through the window of the re-master.If you are moving the recording over to an MP3 or your PC there is some hope since you can delete the offensive tracks.Can anyone say product recall.
I first bought this around 1970; good but later Traffic is much better like "Low Spark" & "Welcome to the Canteen".those are a must have
That's why he gratefully accepted co-operation of his old Traffic friends, Chris Wood and Jim Capaldi, and after all the album, John Barleycorn Must Die, was issued under the Traffic heading.The trio (S. The 6 original tracks are a tremendous blend of various musical styles and influences, yet holding perfectly together on one album. C. In track 3 ("Empty Pages"), a melodic folk-like tune, Winwood's vocal (commonly somewhat strangled) sounds, especially in the refrain, almost like Phil Collins. - ds) was in a wonderful shape that year.
Probably no guitars are employed in these 2 compositions (tracks 2 & 3). Tracks 7 & 8 were recorded only be 2 people - Winwood played everything except for drums. The sound of this remaster is quite nice; to me, only the additional track 4 sounds somehow flatter. W.
- keyb, g, bg, perc, voc; C. Yet, seeking musical partners tuned in the same way as himself, was a bit uneasy. It is said to be about "the effort of people to give up the alcohol distilled from barley." Track 7 ("Every Mothers Son") has appeared on some compilations of progressive rock of the time. After that, early in 1970, he planned to record a solo album. A lovely flute solo is featured as well. - keyb, saxs, fl, perc; J.
The cover is the original - very decent. The instrumental opener ("Glad") starts off with a rhythmic piano and woodwind riff, which might be, by current categorization, assigned even to funky jazz-rock. After another line-up of Traffic split in 1969, Steve Winwood played with the Blind Faith. In contrast, one of the additional tracks that were included into this remastered reissue (track 4 - "I Just Want You to Know"), is a short tune based on vocal harmonies and then it features a lovely guitar solo. Track 6 is the outstanding title composition - an English folk ballad, "John Barleycorn Must Die." As noted on the cover, the first record of this song appeared in 1465 in the age of James 1st.
It features a catchy legato guitar figure and later, this composition transforms into folk-rock'n'blues keyboard improvisations, with perfect, time-to-time even exalted Winwood's singing (of course, Winwood is no Freddie Mercury, but his voice is very functional and suitable for this kind of music).
However, the composition spreads into sax and then keybord improvisations, the piano in the end sounding nearly like a classical one, almost impressionistic style.
It is an older painting provided by the English Folk Dance & Song Society; it depicts a faggot of barley().Whom to recommend this music: to anyone who likes the progressive rock music with lots of improvisation of the turn of 1960's and 1970's.
W.
If you like Clapton, Blind Faith etc., and the British folk, you won't be dissapointed.
The majority of tracks (4-7 min each) allows space for solo improvisations.
Track 2 ("Freedom Rider") begins with a sax motif (which might have been an inspiration for the sax jingle of the TV series on Hercule Poirot :-).
The 2 bonus tracks are very pleasing (the total time of the extended issue is no more than 39:31 min), and depite that in general, I quite dislike spreading the added material in between the original one, on this album, it is quite feasible (the extra material being track 4 and the last track 8): in case you don't have the original recording in your ears, you would not recognize the E.T." among the old material.
This record is superb, 5 stars.
Not only is this my favourite traffic recording, its one of my favourite recordings of all time.I could actually do without the bonus tracks.
(How could they not--treated as royalty, they did what royalty has often done, believe they were better than others and everything they produced was remarkable, including their excrement). There is a lot of boredom on side 2. 3 great songs, well blended in a delightful sequence, made it one of my favorites. After all, even Dave Marsh's opinions are just that, opinions. He teamed up some other well-respected geniuses and produced much fine, and some mediocre, material. This CD is full of both.When I played this LP, side 1 was the only side I listened to. Back in the 70s, when 20 year old musicians were being hailed as geniuses every week, many of those geniuses let the accolades go to their head. This kind of music has been performed by a number of staggeringly talented musicians, and I'd rather hear any of them do it.When I write these, I try to imagine what you, the reader, might be looking for.
That means something.Forget the history lessons and who did what when stuff. John Barleycorn, the much praised title track, sounded pretentious and lame to me then; today, with another 40 years of listening to British folk music under my belt, it sounds worse. Either it's a good LP or it ain't. Well, now I remember why. Steve Winwood was a talented musician and songwriter who created some of the most memorable rock of his era. So, my opinion is that this CD, well remastered, has 3 incredibly fine songs on it, 2 toothless "extra tracks" to make it selllable, and 3 lesser songs on it that I will gladly live without.I had not heard those opening riffs to Glad in many years, but the same smile I felt back then reappeared instantly.
I had not heard side 2 in a long time. While Winwood could certainly play an astoundingly good piano, he had a tendency to noodle along without going anywhere. That is a good song.As I publish this, I note that of 42 reviews, there are only 4 and 5 star reviews. It is.
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